Add 4 hours for a string session if needed, and 4 hours for a choir, if needed.

Maybe I'm fudging the numbers there, but IMO, I fudged them on the high side.

Maybe my lack of experience in different scenarios is showing here, but I can't seem to fill 50 hours....

Hi grantis,

I only reference this because not only did I have to do it once, but since John Lennon apparently tried it once, there are more people out there than you think that would like to try that, just to see what it's like.

And, yes, it totally depends on whom is doing the "dicking around"...

If it is the producer or artist, then you are going to do anything they want until it is right. It is Art at some point, after all, and some Art can only be done in the right place with the correct tools and support for the endeavor at hand. Not cheap, not fast and certainly not unsafely.

Cheers

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-------------------------------------------------It is quite possible, captain, that they find us grotesque and ugly and many people fear beings different from themselves.

I only reference this because not only did I have to do it once, but since John Lennon apparently tried it once, there are more people out there than you think that would like to try that, just to see what it's like.

And, yes, it totally depends on whom is doing the "dicking around"...

If it is the producer or artist, then you are going to do anything they want until it is right. It is Art at some point, after all, and some Art can only be done in the right place with the correct tools and support for the endeavor at hand. Not cheap, not fast and certainly not unsafely.

Cheers

Right on. I guess I'll consider myself lucky I haven't worked in a place with rafters yet. hehe.

I'm all for trying different things to get the result that is desired. But at some point, "art" has to co-exist with a "business", and spending hours on rigging for an upside-down singer might be fine, but it should be paid for by somebody.

Yeah, you CAN make a record in a day or two. But if you're going to do it RIGHT or piece by piece (the way most people outside of Nashville do it), it's not hard to spend 50 hours.Oh, and you know full well it takes longer than 4 hours to mix a song, unless all those versions are gonna print themselves.

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"Nobody cares what the impedance is; all they care about is when you can walk into the room, set up a mic, turn the knobs, hit record, and make everybody go 'wow.'"

By "Right" I'm referring to big budget records of yesteryear.Those involved LOTS of planning, LOTS of rehearsal, and many hours choosing the right part and sound, and then innumerable takes until everything started clicking.

Guerilla record-making is an art in and of itself. But it is a different beast from the method that has emerged over the last forty-odd years, and not something we should necessarily strive for.

And I know that this is J Hall's "Indie Rock" forum, but I believe it was Grant that mentioned adding strings, and I don't know of many two-day records that have strings and choirs on them.

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"Nobody cares what the impedance is; all they care about is when you can walk into the room, set up a mic, turn the knobs, hit record, and make everybody go 'wow.'"

Both the records I mentioned earlier were tracked in under three days (non-consecutive) and have strings and horns and group vocals (I wouldn't call it a choir, to be fair). And banjo, piano, pedal steel, percussion, harmony vocals....

But I get the point. I would love the budget to really pre-produce a record. To have the time to make decisions because we can, not because we must.

You can't multiply 3.5 times 15 and get the real amount of time anything takes.Creating new tracks (or heaven forbid, threading new tape), making the mix changes, then transferring or exporting the mixes. Backing up, Documentation, Etc.You must have been an EPA Estimator in a previous life.

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"Nobody cares what the impedance is; all they care about is when you can walk into the room, set up a mic, turn the knobs, hit record, and make everybody go 'wow.'"